As a leader in the market of digital cameras in general, the Japanese company Canon also has the largest share in the market of interchangeable lenses. Especially successful for those who choose Canon technique, the fact that here correctly designed bayonets: the lens with the EF Bayonet, designed for full-frame cameras, can be easily put on Cameras with a “crumb" matrix using an EF-S bayonet and cameras with an EF-M or RF bayonet using a simple adapter. Simply put, the owner of a full-size “mirror" can have light cameras (up to the compact EOS M5) and use for the whole fleet of equipment only one set of lenses, buying under them only “carcuses".
And the provision obliges - the quality of Canon optics really corresponds to the name of the company. Well, if you bought a camera with whale optics, and its capabilities you already lack, this article is just for you. In our collection, there are the best Canon lenses of 2019 (according to amateur photographers and experts reviews).
Canon 50mm f1.2L USM
This lens is the champion of light power: it is difficult to even for giants of the optical industry to achieve f/1.2. In practice, this allows the photographer to make a minimum depth of field by entirely focusing the frame on the subject. Moreover, the diaphragm mechanism here provides a microscopic level of distortion.
The image with EF 50mm f/1.2L USM looks soft, with vibrant color rendering. With this, even minor chromatic aberrations along the edges of the picture perfectly connect — yes, the lens is not universal, but in the studio of a photographer capable of playing the character of optics, he simply has to be.
The mechanism of autofocus is slow here, but it is not to blame - before us, repeat, not a reportage. “He does not photograph, but draws” - these words of one of the owners perfectly characterize both the features and purpose of the lens.
Canon 50mm f1.4 USM
Pleasant in the drawing and light “nifty fifty” from Canon does not contain anything particularly interesting in the design - “middle” as it is. It has excellent sharpness — someone even uses soft-filters with him when shooting a portrait. Well, very even a decent light is useful not only as an end in itself, but also will allow to focus in limited light even the owners of not the newest cameras, where autofocus sensors are “blind”.
For crop-cameras, by the way, it becomes especially attractive as a portrait, it is often bought for this purpose. On a full-frame, it, as befits a “nifty fifty,” is quite universal “for every day,” and small dimensions with moderate weight contribute to this.
Since we started talking about portraits, the lens has enough strong points in this regard. Good detail in the zone GRIP, color rendering, beautiful working off bokeh - it is not to take away from him. The popularity of the lens allows you to find a lot of photos in this genre when searching by model on the same 500px or Flickr, you can see for yourself. But, covering the diaphragm, bear in mind that then you may have to work with retouch - the micro-contrast of the lens becomes pronounced, emphasizing all the slightest skin defects. Or go back to the two paragraphs above, where we remembered about the soft-filters. The “character” of the lens has, so at least take it for a “test drive” by familiar ones is worth: it is likely that EF 50mm f/1.4 USM you will like.
Autofocus — ultrasonic, but not ring type. Speed is good, misses are rare, primarily if you work on one central point. When using multiple cameras, the camera can already “get confused,” as with many other light-strong lenses due to the small GRIP when the aperture is open, on which the focus is going.
But not without sins, alas. The lens in the plastic case is quite delicate, protect it from falls and bumps. These are not old Japanese manuals like SMC Pentax-M, which can be dropped on the floor and land on top of all 120 kilograms of the author without any consequences (don't ask how it happens). When mounted, it is necessary to put the lens on “infinity” to avoid “traumas of the trunk,” which goes on MDF quite far. On the open diaphragm visible chromatic aberrations (especially in a bad light), strong vignetting - will have to work in the RAW converter, right the imperfection of lenses hands.
Canon EF 50mm f/1.8 STM
However, the top “fifty” Canon, not everyone can afford. Well, if you do not have the luminous power of a whale lens on an inexpensive “mirror,” and ten cheaper, you can buy a good “fifty.” Having a minimum aperture 1.8, the lens blurs the background well, especially since seven petals with rounded edges this blur draw quite adequately.
For a novice photographer, it is also important that the lens on the minimum aperture is well compatible with autofocus: the same f/1.2L USM will require more manual focus. Here, even in low light, most cameras will ensure the accuracy of focus at the center point, and the focus system itself works quickly and quietly.
In addition, the lens is quite versatile. Excellent sharpness of the image will be useful both for the reportage and for portraits - the lens focuses starting from 35 cm so that it can take a face close-up. If in your hands a “crotched” camera, then, getting an equivalent focal length of 75-80 mm, it becomes the best inexpensive lens for portrait photo.
At the same time, it is even more impressive than twice more expensive Canon EF 50mm f/1.4 USM, which in comparison is excessively sharp and cruel in the transmission of halftones, although flaunts ultrasonic autofocus.
Canon 85mm f1.2L II USM
This is the second generation of the legendary top-class portrait lens. The unique texture of bokeh, the clarity of lines, and the saturation of colors - this is exactly what makes the lens popular even despite a considerable price. And sharpness does not suffer an iota in any position of the diaphragm - that is, opening it as much as possible to focus on the subject, you will not have to sacrifice anything. That's why EF 85mm f/1.2L II USM is perfect as a portrait.
Compared to the previous generation increased speed and accuracy of autofocus - the lens will be useful not only in the studio but also on the street. However, without a tripod will begin to affect its weight: the lens weighs a whole kilogram, and will not outweigh forward unless the elephant EOS 1D.
Canon 135mm f2.0L USM
A portrait telephoto lens? Yes, EF 135mm f/2L USM is ambiguous, but it is loved by portrait photographers: almost everything we said about Canon lens rating leader is right for him. Moreover, only the sophisticated eye will find in the finished photo the characteristic differences of these two lenses - and almost half the price will encourage many to come to terms with the non-standard for portrait shooting focal distance.
For the 135mm lens, there is an excellent luminous intensity, and the versatility of this optics is also worthy of respect — thanks to its long focus, it allows you to take photos of distant, fast-moving objects on the small shutter speeds, and at the same time a round diaphragm gives an excellent background blur, valuable for the portraits. Another thing is that they will have to shoot portraits in a spacious studio or on the street - affects the 18-degree field of view.
Canon 24-70mm f2.8L II USM
The winner of the TIPA 2013 Best Professional Lens category surprises with sharpness: at any focal length, even at the edges of the image, he draws the picture on the minimum aperture is so sharp that it is hard to believe that a zoom lens makes the frame. It is possible to fight except that on maximum zoom, but it is to fight.
Not surprisingly the glory of the “wedding lens” - it copes with group photos, and with individual portraits (although the quality of the background blur loses specialized optics), allowing the photographer to work all day with one lens. In addition, the lens works perfectly in control light - for street shooting this property is indispensable.
As for the plastic case, it is both a plus and a minus — of course, you want to have an “unkilled” metal lens, but it is much easier to work with plastic for a few hours.
Canon 24-105mm F4L IS II
Another TIPA laureate, and the newly made - his award in the nomination Best DSLR Standard Zoom Lens, he received this year. A wide range of focal lengths is achieved by using 17 lenses divided into 12 groups. However, it was necessary to suffer light power — it is even less than the good old Soviet “Helios”, but functionality, of course, is incomparable.
It is important to have an active optical stabilizer, when shooting from hands, it will allow making much more quality shots. Compared to the previous version, the aperture mechanism has been improved: it now has 10 rounded petals, which has a positive impact on the possibility of using the lens in portrait photography.
Fans of video shooting on the camera should take into account that to work with zoom directly when shooting this lens is not very good - during zoom the focus slightly “swims away”, and the lens itself is noticeably rustling.
Canon EF-M 18-55mm f3.5-5.6 IS STM
High-quality optics, especially for system cameras, should be expensive. But Canon EF-M 18-55mm f/3.5-5.6 IS STM is not the case. For a very modest price amateur gets light and compact model, suitable for taking pictures in different genres. Optics are ideal primarily for shooting landscapes - this is facilitated by the 18mm focal length. To make the shutter speed longer allows the optical stabilizer. Good portraits are also turned out. Although really beautiful bokeh will not be able to get - affects not widely diaphragm. The lens will be a great choice for the fan of video shooting. You will appreciate STM technology, which makes focus as smooth as possible.
Canon 70-200mm f2.8L IS II USM
Having won the Best Professional Lens award in 2011 by TIPA, this lens is still relevant six years later. By the standards of long-focal lenses, it is short enough but light stable, and the ability to quickly reduce the focal length almost three times is indispensable for reporting shooting. And the speed of focus here is not inferior to the newest models of “reporters”.
But during this time, the reputation has accumulated - despite the complex mechanics, in the environment of photo reporters EF 70-200mm f/2.8L IS II USM has earned the glory of almost “unkilled”, in whatever situations it is camera. Optical stabilizer together with the “foot” (to hold for it seems as not calculated, but so you want) at the bottom of the lens allows you to work with hands at maximum zoom effectively - the glass is quite capable of exposure in 1/30 seconds without a tripod.
However, for artistic work the lens is not enough - purely reportage sharpness, combined with a palpable double in the bokeh zone, look not very beautiful.
Canon 400mm f5.6L USM
But now we have a “thoroughbred” telephoto lens without the possibility of changing the focal length, and what's more — 400 mm is a lot for the full-size, on the “crumbled” of the same matrix they will turn into all 600. Take pictures of craters on the moon? Why not?
Naturally, for such focal length the light intensity is paid - for filming in low light will need a camera with a very good sensor. The lens itself loves bright light, and it is noticeable not only by color rendering but also by changing the sharpness of the image. Not surprisingly, on most of the frames showing the operation of EF 400mm f/5.6L USM, you can see the African savannah: it's actually the most comfortable element for him.
It is more surprising that the lens does not have an optical stabilizer - at 400 mm RF even from a tripod is not easy to remove.
Canon 70-200mm f4L IS USM
You can not be afraid to use Canon EF 70-200mm f/4L IS USM even in the stadium, where the light source is modest spotlights. If luminous power is not enough - you can make the shutter longer - the lens has an optical stabilizer, it allows you not to be afraid to get an oiled frame. Unfortunately, the focal length range is not very wide. Therefore, with the shooting of, say, frightened birds can cause problems. But this model can please comfortable weight - the lens does not need to be installed on a tripod, the camera with it can be held in hands.
Canon 100mm f2.8L Macro IS USM
Thanks to the ability to focus already at 30 centimeters and a sufficiently large focal length, this lens is undoubtedly the best in the Canon line for macro photography. To this, we will add all the attributes of the top series — high-class optics, ultrasonic autofocus, and even an effective optical stabilizer. Image stabilizer, by the way, first appeared on Canon macro optics.
The focus system has three modes - “traditional”, from half a meter to infinity, and specialized, in the range of 0.3-0.5 m. The third FULL mode allows you to move from one subject to another without unnecessary movement at all distances, but autofocus is slower and coarse, so you should use more often switch.
The clarity and contrast of the image is precisely what you expect from a high-class lens — on the frames you can easily count the chitine bristles on the abdomen of the bumblebee.
Canon EF 35mm F1.4L II USM
In this winner of the EISA Professional DSLR Lens 2016-2017, it is difficult to recognize the wide-angle - the eye here is 70 focal length millimeters. And he weighs fairly — almost 800 grams. This was the result of using 14 lenses in the lens, which in turn promises a low level of distortion.
Marking immediately gives out a representative of the top series, even if you do not look at the price — L points to first-class optics, USM — to ultrasonic focusing system. And the lens came out excellent: only on diaphragms less than 2,8 visibly vignetting, on all others the level of distortion is insensible. A soft side perfectly complements the high clarity of the image at the focal point beyond the depth of field boundaries. Stand the lens and to the illumination - will not be able to spoil the image even hard control light.
Canon EF 11-24mm F4L USM
The lens in its assets has two awards: TIPA Best Professional Lens 2015 and EISA Professional DSLR Lens 2015-2016. And he from a simple wide-angle can turn into a super wide-angle, and a huge front lens is related to it with fisheye only externally: although straight lines and inevitably fall to center, but remain perfectly straight.
The payment for this was the complexity of optics, and hence strange for the wide-angle light intensity. The lens is noticeably dark, but if you look closely at the pictures, this is another excuse - there is not only a barrel distortion but also chromatic aberrations even with minimal focal distance that makes it easy to fit in the frame skyscrapers.
